Adam Pendleton’s New D.C. Show: A Call for Deep Thought

Adam PendletonS “Love, Queen”: A Retrospective Redefining Painting in the 21st Century

Can a painting be more than just a pretty picture? Adam Pendleton‘s “Love, Queen” at the Hirshhorn Museum argues that it absolutely can. This major retrospective, years in the making, isn’t just a display of art; it’s an exploration of history, identity, and the very essence of what painting can be in the modern world.

The Hirshhorn’s 50th Anniversary: A Perfect Stage for Pendleton’s Vision

The Hirshhorn Museum, celebrating its 50th anniversary, provides the ideal backdrop for Pendleton’s work. The exhibition directly engages with the museum’s architecture and its prominent location on the National Mall, making it a deeply site-specific experience.

Melissa Chiu,the hirshhorn’s director,emphasizes that this project aligns perfectly with their mission: reflecting the art of our time. And Adam Pendleton, with his unique painting practice, does just that.

Did You Know?

The Hirshhorn Museum was founded in 1974 and is known for its distinctive cylindrical architecture, making it a landmark on the National Mall.

A 20-Year Journey Through Painting

Pendleton describes “Love, Queen” as a retrospective of his thought process and evolution within the discipline of painting over the past two decades. It’s an argument, he says, about the possibilities of painting in the 21st century, reflecting on its history and its role in the early 20th century.

The exhibition features 35 of Pendleton’s paintings, showcasing five distinct bodies of work. These include pieces from his ongoing series “Black Dada,” “Days,” and “WE ARE NOT,” alongside two new series, “Composition” and “Movement.”

“Black Dada”: Where Blackness Meets Abstraction

At the heart of Pendleton’s work is “Black Dada,” a conceptual framework and painting series that explores the complex relationship between Blackness and abstraction. This isn’t just about portrayal; it’s about challenging the very foundations of artistic expression.

Pendleton’s process is multifaceted. He begins with compositions on paper, using paint, ink, and watercolor, often incorporating stenciled text and geometric shapes. These works are then photographed and transformed through screen printing, blurring the lines between painting, drawing, and photography.

The final works reflect Pendleton’s belief in the power of painting as a force. He aims to create a space for presence, a counterpoint to the constant stream of thoughts that dominate contemporary life.

Expert Tip

Pay close attention to the layering in Pendleton’s “Black Dada” series. Each layer represents a diffrent stage of his process, adding depth and complexity to the final piece.

Finding Presence in the Act of Painting

“painting is, for me, a way to be my most present self,” Pendleton explains. he hopes that viewers will feel this presence, even if they don’t fully understand the technical aspects of his process.

This emphasis on feeling over understanding is crucial. In a world saturated with information, Pendleton invites us to slow down and experience the raw, emotional power of art.

“Resurrection City Revisited”: A Powerful Video Installation

A centerpiece of “Love, Queen” is “Resurrection City Revisited (Who Owns Geometry Anyway?),” a nine-minute video installation that delves into the history of Resurrection City, the encampment erected on the National Mall in 1968 as part of the Poor People’s Campaign.

This campaign, initially planned by the Rev. Dr. Martin Luther King Jr. and later lead by the Rev. Ralph Abernathy, brought together thousands of people to demand economic justice across racial lines. It was a pivotal moment in American history, and Pendleton’s work brings it to life in a new and compelling way.

Jill Freedman‘s Photographs: A Window into the Past

Pendleton’s interest in Resurrection City was sparked by photographs taken by Jill Freedman, who lived in the plywood shantytown and documented the encampment’s structures and daily life. These images provided a crucial visual record of this historical event.

Pendleton was particularly drawn to the “lush blacks” and “muted whites” in Freedman’s photos, as well as the primary geometric structures that defined the encampment. His fascination with triangles, circles, and squares led him to explore the deeper meaning behind these forms.

Rapid Fact

Resurrection City was a real encampment on the National Mall in 1968, lasting for several weeks and serving as a powerful symbol of the Poor People’s Campaign.

Resurrection City as Radical Avant-Garde

Pendleton sees resurrection City as an example of a “radical avant-garde,” driven by a desire to move forward intelligently, willfully, and joyfully. This viewpoint challenges customary notions of art and activism, suggesting that they can be intertwined.

The video’s score, composed by Hahn Rowe, further enhances the experience, weaving together a reading by Amiri Baraka with rich orchestration of brass, woodwinds, and drums. It’s a powerful and moving soundtrack that amplifies the emotional impact of the visuals.

Deep Looking and Unexpected Resonance

Pendleton emphasizes the importance of “deep looking” and allowing things to resonate in unexpected ways. His video installation, like his paintings, is designed to offer a rich viewing experience, with new discoveries each time it’s revisited.

He wants viewers to be driven to look and think deeply, so that things are actually seen, felt, and heard. This is where the video truly connects with the paintings, creating a cohesive and immersive experience.

Defying Singular interpretation

Throughout “Love, Queen,” Pendleton explores the relationship between history and form.His large-scale paintings, layered with bold strokes and fragmented text, defy singular interpretation, prompting viewers to actively construct meaning.

This active engagement is key to Pendleton’s vision. He doesn’t want to simply present answers; he wants to provoke questions and encourage viewers to think critically about the world around them.

Painting as a Humanistic Act

“It marks time in a very human and humanistic way,” Pendleton reflects. “And that’s why it has spoken so deeply to us as human beings for so long, as it articulates somthing very specific about our humanistic potential.”

In a world increasingly dominated by technology, Pendleton reminds us of the enduring power of human expression. Painting, in his view, is not just a craft; it’s a way to connect with our shared humanity.

The Future of Abstraction: What’s Next for Pendleton?

While “Love, Queen” is a retrospective, it also hints at the future direction of Pendleton’s work. His continued exploration of “Black Dada” and his experimentation with new forms and techniques suggest that he will continue to push the boundaries of painting in the years to come.

One can anticipate further integration of historical and contemporary themes,as well as a deeper engagement with social and political issues. Pendleton’s work is not just about aesthetics; it’s about using art as a tool for social change.

The Enduring Legacy of “Love, Queen”

“Love, Queen” is more than just an art exhibition; it’s a cultural event that will resonate with audiences long after it closes. Its exploration of Blackness, abstraction, and history is both timely and timeless, offering a powerful commentary on the state of the world today.

By challenging traditional notions of painting and inviting viewers to actively participate in the creation of meaning, Pendleton has created a truly transformative experience. “Love, Queen” is a testament to the power of art to inspire, provoke, and ultimately, to change the world.

Reader Poll

What aspect of Adam Pendleton’s work resonates most with you: his exploration of Blackness, his use of abstraction, or his engagement with history?

FAQ: Understanding Adam Pendleton’s “Love, Queen”

What is “Black Dada”?

“black Dada” is Adam Pendleton’s evolving conceptual framework and painting series that explores the relationship between Blackness and abstraction. It challenges traditional notions of artistic expression and aims to create a space for presence.

What is “Resurrection City Revisited”?

“Resurrection City Revisited (Who Owns Geometry Anyway?)” is a nine-minute video installation exploring Resurrection City, the encampment erected on the National Mall in 1968 as part of the Poor People’s Campaign. It examines themes of economic justice and social change.

Where is “Love, Queen” being exhibited?

“Love, Queen” is being exhibited at the Hirshhorn Museum in Washington, D.C., during its 50th anniversary year.

How many paintings are featured in the exhibition?

The exhibition features 35 of Pendleton’s paintings,representing five different bodies of work.

What is Pendleton’s artistic process?

Pendleton’s process often begins on paper, where he builds compositions through paint, ink, and watercolor, incorporating stenciled text and geometric shapes. These works are then photographed and transformed through screen printing, blurring the lines between painting, drawing, and photography.

pros and Cons of Pendleton’s Approach

pros:

• Encourages critical thinking and active engagement with art.
• Bridges the gap between historical events and contemporary artistic expression.
• Offers a unique perspective on the relationship between Blackness and abstraction.
• Promotes a sense of presence and mindfulness in a fast-paced world.

Cons:

• May be challenging for viewers who prefer more traditional or representational art.
• the abstract nature of the work can be difficult to interpret without context.
• Some viewers may find the fragmented text and layered imagery overwhelming.

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Unpacking Adam Pendleton’s “Love, Queen”: An Expert’s Outlook on Abstraction, Blackness, and the Future of Painting

Adam Pendleton’s “love, Queen” at the hirshhorn Museum is generating buzz for its innovative approach to painting and its exploration of profound themes. we sat down with Dr. Eleanor Vance, a leading art historian specializing in contemporary abstraction, to delve deeper into the exhibition and its importance.

Time.news: Dr. Vance, thanks for joining us.”Love, Queen” is being described as a retrospective that redefines painting. What makes it so unique?

Dr. Eleanor Vance: It’s a pleasure to be here.”Love, Queen” stands out because it’s not simply a display of gorgeous objects. It’s a deeply intellectual and emotional engagement with the history of painting, the complexities of Black identity, and the potential for art to provoke critical thought. Pendleton isn’t just showing us paintings; he’s presenting an argument about what painting can be in the 21st century. The fact that it’s at the hirshhorn Museum, celebrating its 50th anniversary, is a bonus as his art dialogues with the Modernist design.

Time.news: Pendleton’s “Black Dada” series is central to the exhibition. Can you explain the concept and its importance?

Dr. eleanor Vance: “Black Dada” is Pendleton’s conceptual framework for exploring the relationship between Blackness and abstraction. It’s a conscious effort to challenge the traditional, ofen white-dominated, narrative of abstract art. He’s not just adding Black figures to abstract compositions; he’s fundamentally questioning the foundations of artistic expression itself. As our post notes, pay close attention to the layering – each layer representing a different stage of the process.

Time.news: The exhibition also includes a video installation, “Resurrection City Revisited.” How does this piece connect with Pendleton’s paintings?

Dr. Eleanor Vance: “Resurrection City Revisited (Who Owns Geometry Anyway?)” is a powerful piece that provides crucial context for understanding Pendleton’s broader artistic vision. It delves into the history of Resurrection City,the 1968 encampment on the National Mall,using Jill Freedman’s photographs as a starting point. Pendleton sees Resurrection City as a “radical avant-garde,” blurring the lines between art and activism. his interest with the geometry, notably triangles, circles, and squares, is key to interpreting the meaning behind that history.

Time.news: For readers who might be intimidated by abstract art, what advice would you give them when approaching “Love, Queen?”

Dr. Eleanor Vance: Don’t feel pressured to “understand” everything immediately. Pendleton himself emphasizes the importance of feeling over understanding,at least initially. Allow yourself to be present with the work, to “deep look,” as he puts it. Pay attention to the textures, the colors, the layering, and the fragmented text. Let the work resonate with you on an emotional level. The meaning will unfold over time. The cons section of the original post notes some of the issues with abstract art for new viewers, but the reward is worth it when you start to pick apart the pieces.

Time.news: Pendleton’s process involves a combination of painting, drawing, photography, and screen printing. How does this multifaceted approach contribute to the overall impact of his work?

Dr. Eleanor Vance: This blurring of lines between different mediums is essential to Pendleton’s artistic vision. It reflects his desire to challenge traditional categories and to create something entirely new. By incorporating photography and screen printing, he adds layers of complexity and meaning to his paintings, creating a dynamic interplay between the handmade and the mechanical.

Time.news: “Love, Queen” is described as a testament to the power of art to inspire and provoke change.Do you agree with this assessment?

Dr. Eleanor Vance: Absolutely. Pendleton’s work is not just aesthetically pleasing; it’s intellectually stimulating and socially engaged. By exploring themes of blackness, abstraction, and history, he challenges viewers to think critically about the world around them. He reminds us that art can be a powerful tool for social change and a way to connect with our shared humanity.

Time.news: What do you see as the future direction of Pendleton’s work, based on what you’ve seen in “Love, Queen?”

Dr. Eleanor Vance: I anticipate that he will continue to push the boundaries of painting even further, integrating historical and contemporary themes in even more complex ways. His engagement with social and political issues will likely deepen, and he will continue to experiment with new forms and techniques. “Black Dada” will, I suspect, continue to evolve as a central framework for his artistic exploration.

Time.news: dr. Vance, thank you for sharing your insights with us. “Love, Queen” sounds like an exhibition that is not to be missed.

Dr. Eleanor Vance: My pleasure. I encourage everyone to experience it for themselves and to engage with Pendleton’s work on a personal level.